The Report on the State of Culture in Spain (or ICE from its initials in Spanish) is a publication by the Fundación Alternativas Culture Report on and Communication Observatory that systematically monitors our country’s cultural reality. Six editions have been produced since THE STATE OF CULTURE 2011 that have made it possible to focus on our different soft spots and problem issues. IN SPAIN 2020 The first part of this edition will be dedicated to Spain’s foreign cultural policy, identifying players, policies and its main achieve- SPAIN’S CULTURAL ACTION ABROAD [ICE-2020] ments. In addition, we run an evaluation and produce a series of proposals to improve efficacy and efficiency, also considering how Covid-19 is affecting traditional models. As we have maintained in previous editions of the ICE, culture is a mainstay for the Agenda 2030 sustainable development goals and, without it as a tool and a cross-discipline perspective of all poli- SPAIN’S CULTURAL ACTION ABROAD [ICE-2020] ACTION ABROAD CULTURAL SPAIN’S cies, the endeavour is bound to fail. We approach the second part of this edition along these lines, addressing fundamental questions such as development and territorial cooperation, sustainability of 2020. cultural heritage and artistic education and growth of the audio- visual industry. THE STATE OF CULTURE IN SPAIN IN SPAIN OF CULTURE THE STATE Report on informe_cultura_2020_ingles.indb 1 19/11/20 10:55 informe_cultura_2020_ingles.indb 2 19/11/20 10:55 REPORT ON THE STATE OF CULTURE IN SPAIN, 2020 SPAIN’S CULTURAL ACTION ABROAD [ICE-2020] informe_cultura_2020_ingles.indb 3 19/11/20 10:55 informe_cultura_2020_ingles.indb 4 19/11/20 10:55 REPORT ON THE STATE OF CULTURE IN SPAIN, 2020 (ICE,2020) SPAIN’S CULTURAL ACTION ABROAD Management: Inmaculada Ballesteros Coordination and Editing: Enrique Bustamante Authors: Irene Aláez Inmaculada Ballesteros Enrique Bustamante Raquel Caerols Concepción Cascajosa Patricia Corredor Jorge Fernández de León José Andrés Fernández Leost Diego López Garrido Juan Luis Manfredi Alfons Martinell María Angeles Querol Arturo Rubio Mariano Martín Zamorano Communication and Culture Observatory FUNDACIÓN ALTERNATIVAS MADRID 2020 informe_cultura_2020_ingles.indb 5 19/11/20 10:55 It is strictly forbidden, without written authority from the “Copyright” holders, subject to the sanctions laid down by law, to totally or partially reproduce this work by any other medium or procedure, including reprography and computer processing, and the distribution of copies of it through rental or public loan. The Fundación Alternativas does not necessarily identify with the texts that it commissions and edits, and this re- sponsibility falls exclusively to its authors. © The authors © Fundación Alternativas Production and printing: Lúa Ediciones 3.0 www.luaediciones.com ISBN: 978-84-122331-9-3 Legal deposit: M-28612-2020 informe_cultura_2020_ingles.indb 6 19/11/20 10:55 TABLE OF CONTENTS 9 Presentation Diego López Garrido and Inma Ballesteros 11 Introduction. Between two crises (2011-2020). Shipwrecks and cultural hopes for the near future Enrique Bustamante 27 Foreign cultural action: cultural diplomacy or foreign cultural policy Irene Aláez Vasconcellos 41 New players in cultural diplomacy: cities, civil society, social media and digital environment Mariano Martín Zamorano 55 Cultural and creative industries: cultural content on the internet as cultural cooperation agents Juan Luis Manfredi Sánchez 67 Spain within the framework of the European cultural cooperation strategy: potential mutual synergies José Andrés Fernández Leost 77 Panorama for Spain’s external cultural action: challenges and proposals Alfons Martinell Sempere 87 Sustainability of the past: a new protection strategy for archaeological heritage María Ángeles Querol 7 informe_cultura_2020_ingles.indb 7 19/11/20 10:55 TABLE OF CONTENTS 97 Culture and territorial development, challenges and opportunities for the countryside Jorge Fernández León 111 Including culture and the arts in the education curriculum: an unresolved, urgent task Raquel Caerols Mateo 123 Production and distribution of audiovisual fiction in Spain: between traditional operators and the emergence of video on-demand services Concepción Cascajosa Virino 137 Institutional coordination and the value of stage heritage in globalisation: challenges for cultural policy in the stage sector Juan Arturo Rubio Arostegui 147 Report on the state of culture in Spain (2020): two complementary snapshots on the situation of culture Patricia Corredor Lanas 183 Advisory board 185 Research team 8 informe_cultura_2020_ingles.indb 8 19/11/20 10:55 PRESENTATION Diego López Garrido Inma Ballesteros Although all sectors are affected by the pan- mation, as a bastion of innovation, in this new demic, culture has been, is and will be one reality that we keep on creating. of the areas that has most suffered its conse- Without beating around the bush, we can quences. Cultural activities need to be in close say that the digital environment has been contact with their audience and closing cine- colonised by cultural content. According to mas, theatres, concert halls and cultural activi- Eurostat,1 over 70% of Internet connections are ties in general has opened up an abyss between made with the intention of consuming cultural creators and their audiences. As you might ex- content. However, this presence is not being pect, this led to seeking ways of emerging in recognised, not even by the sector itself, that a new context using other tools that became often wastes its enormous potential to assert faithful allies to get through the darkest days its role in the new economy. This is doubtlessly of the health crisis. Today, as the month of July one of the great challenges to tackle, strength- comes to a close, it seems that it’s all behind us ening technological skills among creators and but we really have no idea how long we’ll have administrators, understanding how new busi- to keep up these new rules and, more impor- ness models work and proposing new cultural tantly, when life as we knew it will return. cooperation formulas that guarantee cultural In this scenario, cultural cooperation has content diversity in a digital environment. had to put the brakes on thousands of activities On the other hand, the cultural sector’s ca- as the virus spread throughout the world and pacity to connect with other disciplines must be physical borders closed. Simultaneously, digi- boosted by public powers when designing co- tal arenas were flooded with cultural content operation strategies for economic and territori- and encouraged unusual encounters that have al development. We need forums and spaces for made it possible to experiment with new ways inter-sector connection to boost innovation, an of telling stories, enjoying music and keeping inherent part of cultural creation in all its fields. in touch with the audience, such a fundamen- tal part of cultural action. These experiments have brought out the strengths and weakness- es of a sector as it goes through major transfor- 1. https://ec.europa.eu/eurostat/statistics-explained/index. php/Culture_statistics_-_use_of_ICT_for_cultural_purposes 9 informe_cultura_2020_ingles.indb 9 19/11/20 10:55 DIEGO LÓPEZ GARRIDO E INMA BALLESTEROS Matters that we have been forced to rethink Our experience tells us that cultural coop- include our relationship with audiences. The eration projects are not intended for individ- audience has always been a key element in any ual purposes. They are initiatives that meet a cultural project. Its role has always been ac- greater goal beyond applause from the audi- tive and has conditioned how action has devel- ence and the critics. They provide value to for- oped. The conditions caused by the pandemic eign policy because they connect people, and mean that we have to reformulate how we they build networks based on trust and shared make contact and interact with everyone be- values. These intangibles are the true value of yond the stage. In this respect, the digital me- cultural cooperation because culture is about dium is a universe to explore, brimming with people, so cultural policy has to revolve around possibilities that we have to begin to discover. people. In the new framework of cultural cooperation, From 21st July of this year, new perspec- we will have to come up with ideas that allow tives have opened up for foreign cultural co- online and offline actions to coexist and work operation. The European Recovery Fund is out how to interconnect them. providing a chance to get very powerful fi- In Spain, cultural cooperation has been a nancing for the cultural and creative industries key element of foreign policy despite the many projected abroad. Culture needs an injection, ways of understanding it. With the recession not only of money, but also of real policy. This in 2008, cuts devastated the sector that nev- is an opportunity to make the transformations ertheless kept on generating networks in less raised in this report, presented in the in-depth formal environments. Culture professionals introduction by Enrique Bustamante, its coor- working in international cooperation have dinator. used all their experience to generate a chain of Spain should present the European Com- value that is one of our great strengths to tap. mission with an ambitious, wide-reaching Away from institutional programmes and ma- project for the Spanish and European strategy jor events, maybe slightly less ambitious pro- for foreign cultural policy. And this should fall